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Biography

Jump to: Overview (2) | Mini Bio (1) | Trivia (5) | Personal Quotes (2)

Overview (2)

Date of Birth 8 April 1926Los Angeles, California, USA
Birth NameSuzanne Marguerite Philips

Mini Bio (1)

While other actresses would have long given up a stalled career out of pure frustration after decades of extra/bit parts and little reward, perennial starlet Sue Casey somehow found the stamina to maintain ... for six decades! In films from 1946, the voluptuous brunet, at most, became a campy vixen in a few 1960's "drive-in" bombs, yet has always held a remarkably appreciative outlook as to how things turned out.

Born in Southern California on April 8, 1926, her family lived in the Beverly Hills area (her father was a builder) at the time of her birth but was forced to move after the crash of the stock market in 1929 to a more modest area of town. While Sue expressed no early interest in acting, her West Coast beauty was undeniable and it didn't take long before the teenager caught the eye of a talent agent who persuaded her to try with the well-oiled fantasy line, "How would you like to be a star?" The exhausting route that Sue took in that ultimate pursuit is now one for the Hollywood annals.

Making the usual audition rounds, Sue's first extra part came with the lightweight MGM film Holiday in Mexico (1946) for Samuel Goldwyn. A young married lady at the time with a child in tow, she found her next work as Danny Kaye's boss' secretary in the The Secret Life of Walter Mitty (1947). Promoted by the studio as a "Goldwyn Girl," Sue dutifully attended all the requisite premieres, parades, late night parties, parades, fashion and charity events -- anything to further advance herself. To supplement her studio income, Sue worked as a photographer and artist's model.

Naturally, between 1948 and 1955, nearly all of her one-dimensional on-camera assignments revolved around her beauty and figure. A diverting presence in the usual MGM comedy or drama such as Blondie's Big Deal (1949) and The Great Sinner (1949), she provided classy set decoration for the studio's prime Golden Age musicals as well, including Words and Music (1948), Nancy Goes to Rio (1950), Annie Get Your Gun (1950), Show Boat (1951), An American in Paris (1951), The Band Wagon (1953), Deep in My Heart (1954), and the Esther Williams swimming extravaganzas Neptune's Daughter (1949) and Million Dollar Mermaid (1952). Often times she would be directed over to other major studios -- Paramount, Columbia, Universal and Warner Bros. -- and provide fetching atmosphere there. Director Raoul Walsh once complimented her as "the most beautiful extra in pictures today."

By the mid 1950s Sue had still barely put two lines together on screen and after filming the non-descript parts of a snake charmer in 3 Ring Circus (1954), a sunbather in Rear Window (1954) and a harem girl in Son of Sinbad (1955), decided to take some time away from the cameras and concentrate on family. She went on to have three more children.

By 1959, however, Sue was back in front of the lens as beautiful as ever but this time the focus was on TV. Successfully establishing herself as a wholesome commercial actress, she pitched everything from cereal to automobiles in over 200 assignments. Light TV guest parts also came her way in episodes of "The Lucy-Desi Comedy Hour," "The Bailey's of Balboa," "The Dick Van Dyke Show," "The Farmer's Daughter," "The Beverly Hillbillies," and "Family Affair", among a few others. As for the big screen, nothing changed. Obscure bit/extra parts continued with Bells Are Ringing (1960), The Ladies Man (1961), Breakfast at Tiffany's (1961), Two Weeks in Another Town (1962), A New Kind of Love (1963) and The Carpetbaggers (1964).

Finally, after nearly two decades of pursuing her dream in Hollywood, Sue nabbed a leading role! As "bad girl" Vicky Lindsay in what is arguably one of film's biggest "turkeys" of all time, The Beach Girls and the Monster (1965), Sue attained a notoriety that led to minor cult status. The film had a non-existent budget and was received poorly in every way, shape and form upon its initial release. Sue even had to do her own hair and makeup and forced to pick out her vixen character's clothes from her own closet. The actors were never paid until the movie was sold years later to TV (retitled "Monster from the Surf") and that was a mere pittance. Over the years the movie has gained a following.

Two other dismissible co-star roles in two other unmemorable campy films followed for Sue. She played a hillbilly mom in the fugitive drama Swamp Country (1966) that starred pearly-toothed pre-Carol Burnett hunk Lyle Waggoner, and a manipulative mom and art forger in Catalina Caper (1967). This movie starred former Disney star Tommy Kirk after his fall from studio grace, and (again) Lyle Waggoner.

In later years Sue developed a successful real estate business. She would also find acting work (often without an agent) intermittently on film and TV. Featured in a couple of higher-scaled movie musicals -- as a lady attendant to Vanessa Redgrave's Queen Guinevere in Camelot (1967) and as one of John Mitchum's two wives in Paint Your Wagon (1969) -- her final film resume would add such films as The Main Event (1979), Evilspeak (1981), Whitesnake: Live... in the Still of the Night (2005), A Very Brady Sequel (1996) and American Beauty (1999). In the last mentioned, an Oscar winner for "Best Picture," a desperate Annette Bening tries to sell her well-to-do character a house. Sue Casey...a survivor in every sense of the word.

- IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

Trivia (5)

She was also a model and, in the late-fifties, she temporarily transitioned from films to television commercials so she could spend more time with her family. She appeared in over 200 commercials including ads for Chrysler, Maxell House and Kelloggs.
When she was in high school, a talent agent saw her and began interviewing her at studios. While she was still a teenage, she appeared in her first film, Holiday in Mexico (1946). She appeared in two Academy Award for Best Picture winners: An American in Paris (1951) and American Beauty (1999).
Born in Los Angeles, she was an actress and Hollywood extra who appeared in over 75 productions between the years 1945 and 2002.
Married with four children.
Worked for Tom Kelly, the photographer whose iconic late 1940s nude shot of a very young and unknown Marilyn Monroe made history. Sue was asked to do the same shoot but refused at the time because, as a wife and mother, she felt it wrong to be seen in this kind of light. Sue and Marilyn also worked for the same modeling agency -- the Snively Agency. -- at one point.

Personal Quotes (2)

I am very surprised that this film has such a following because it is just awful. I remember being interviewed by somebody a few years ago who was writing a book on the one hundred worst movies ever made. I can say that certifiably that it is one of the worst movies ever made. It was so comical. I did it because I though, 'What the heck. Maybe somebody will see it.' Actually, I got a couple of jobs out of it. I couldn't believe it. The roles were all in these crummy movies but it was work. -- SC, referring to her cult movie The Beach Girls and the Monster (1965).
I was cast as showgirls, models, and in bit parts in literally dozens of films. It was fabulous. Back then you would be on a movie for three months at a time. I worked with Esther Williams in five movies. In most of her films I am swimming right next to her and some people can't tell us apart. I tell everyone that she's the one with the better costume.

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